The organ part and reduced score Symphony No. 4 - An Organ Symphony (2008) by Poul Ruders. Full score: WH31186 Orch. parts are available on hire: hire@ewh.dk Preface / Programme Note When introducing a large-scale symphonic work not only as a symphony but as an organ symphony it would be impossible not to think of and perhaps compare it with Camille Saint-Saëns’s famous SYMPHONY NO. 3 popularly known as the Organ Symphony. Well that is a risk I am prepared to take – and live with the consequences.Saint-Saëns however listed his work as a symphony avec/withorgan. The organ only appears in two out of the four sections of thepiece. In my symphony the instrument plays a far more significant part and is featured in all four movements. But it is not a concerto for organ and orchestra rather a symphony with organo obligato - a symphony with an organ part of a soloistic nature. So an Organ Symphony it is. The first movement PRELUDE is exactly that: a foreplay to what is in store for the rest of the symphony. It is slow (very slow!) and predominantly hushed: the organ and the orchestra wake up side-by-side getting to know one another.The second movement CORTÈGE is a slowly moving processional and it evokes extreme solemnity and austerity. Later on the music takes flight and the atmosphere lightens considerably a far more playful music emerging.This leads to the third movement ETUDE an exercise in instrumental virtuosity and technical challenge.The fourth and last movement is called CHACONNE but I could just as well have named it passacaglia (the definition of those two terms seems to blur even among the learned). Bearing in mind the last movement of Johannes Brahms´s SYMPHONY NO.4 which is universally agreed on as being a passacaglia I chose to avoid the Wrath of the Gods and opted for

Arranged by Kenneth Baker. Twenty-four popular songs arranged in the modern style. Suggested registrations and chord chart. Also lyrics and chord symbols. / Orgue

The two decades either side of the turn of the 19th century were fruitful ones for English organ music with two Irish composers (Stanford and Wood) integrated so well into the English musical scene that they virtually became fathers of a new national school. Contains: BEST - March for a Church Festival PURCELL - Overture from 'King Arthur' SMART - Choral with Variations STANFORD - Prelude in F Major Op.101 No.1 WOOD - Prelude on Psalm 23 and WOOD - Prelude on the Old 104th Psalm

In this collection the composers have attempted to provide pieces that display the individual tone-colours of the modern organ. Works of this nature are scarce but their value particularly for the recital is considerable. This contrasted set could well be played as a group in one programme.

Volume II-Joan Cabanilles Selected Works for OrganVolume I: BA11228Volume II: BA11229Although quite some time has passed since the multifaceted organ music from Spain's Golden Age could be called an ?insider's tip? it had yet to attain popularity with any wide audience outside the countries of the Iberian Peninsula. The three-volume Urtext edition of selected works by Joan Cabanilles the cathedral organist from Valencia now has every chance of becoming a milestone in its own right. The Iberian organ tradition of the 17th century appears to have reached its climax in his tientos diferencias and versos. In the first two volumes the editors Gerhard Doderer and MiguelBernal Ripoll present a total of 22 of his most appealing and most significant tientos.Urtext edition based on the latest research findingsPreface by the editors (in German English and Spanish)

The large-scale partitas Op.8 Nos.1 and 2. Hugo Distler studied Organ with Günther Ramin and composition with Hermann Grabner in Leipzig. He then worked as cantor and organist at St. Jacobi in Lübeck and taught composition and Organ at the Stuttgart Musikhochschule from 1937 onwards. In 1940 he took up the same position at the Berlin Musikhochschule and also became director of the Berlin Cathedral Choir in 1941. Considerably influenced by the Lübeck Stellwagen organ at St. Jacobi he championed the characteristic pre-Baroque and Baroque sound of the organ and the forms which best suited it. His stylistic preference was for aspecifically neo-Baroque functional-objective type of sound. This 3-volume critical edition with previously unpublished works includes the forewords of the first editions facsimiles a critical commentary for each volume as well as a list of sources. - First Urtext edition of Hugo Distler’s Organ works. - Includes previously unpublished works. - Reflects the latest state of research. - Detailed foreword critical commentary (Ger/Eng) facsimiles and tips on performance practice.

Vol. 1-3-Collected preludes and minor pieces for organ volume 1-3. Edited by Birgitte Ebert and Bendt Viinholt Nielsen. The Rued Langgaard Edition Edition Wilhelm Hansen Copenhagen 2017. With the publication of Rued Langgaard’s preludes and minor pieces for organ in three volumes the contribution made by the composer to this repertoire is being presented in its entirety and all its diversity. The publishers have decided to include as many ofLanggaard’s small pieces for organ as it has been possible to present in an authentic form rather than to carry out a selection based on aesthetic or formalcriteria. The 112 compositions are presented in chronological order in accordance with Bendt ViinholtNielsen’s catalogue of works Rued Langgaard’s Compositions (1991). The intention to include as far as possible all the completed compositions in the edition has resulted inconsiderable editorial challenges. In certain cases Langgaard’s own handwritten manuscripts are so unclear or incomplete that the editors have had to abandon the possibility of arriving at a form of publication that lives up to the strict requirements made by the Rued Langgaard Edition regarding authenticity and a critical approach to the source material. Therefore the editors have made no attempt to include a number of mainly untitled and undated preludes which Langgaard left behind in so loose a notation that publication in anything approaching authentic form is not possible (these pieces are registered in the catalogue of works in the appendix of omitted works as U10-U20). CONTENTS Volume 1 PRELUDES AND MINOR PIECES FOR ORGAN 1912-1939 [1]  Jeg vil din Pris udsjunge (Præludium) / I Will Sing Thy Praise (Prelude)               BVN 52:1

Volume 3: Improvisation-Here is a method that will train organists properly for the traditional role of accompanying hymns and providing suitable service music. It is a comprehensive approach that introduces the techniques of organ playing step-by-step.Aimed at pianists of grade 5 standard plus The Church Organist begins by introducing the organ - its console manuals and stops - before exploring the pedals good manuals and pedals technique coordinating hands with feet proper use of stops the basics of improvisation and many other skills important to today’s church organist. Christopher Tambling is Organist and Master of the Schola Cantorumof Downside Abbey. He was an organ scholar at Canterbury Cathedral and St Peter’s College Oxford and is a Fellow of the Royal College of Organists.

?For me Sebastian Bach is the be-all and end-all of music; true progress lies and resides in him alone.? It was with these programmatic words that Max Reger prefaced his answer to a survey ?What does Johann SebastianBach mean to me and what is his significance for our time?? posed by the editors of a magazine in 1905. Reger had already proven his adoration of Bach with his magnificent homage to the composer written and publishedin 1900 and probably the best-known of his works for Organ. It is an established work in the concert repertoire of well-known virtuosi but is also increasingly being performed by ambitious church musicians. Henle has nowpublished this sea of notes and performance directions in an edition with a particularly clear and readable text.

Commissioned in 1960 for the dedicatory recital of the new organ in Coventry Cathedral. The composer's inspiration grew from the deep impression made on him by the sight of the new cathedral standing beside the charred shell of the old one.

Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue

Bach, Johann Sebastian Organ Works, Volume 6 Preludes, Toccatas, Fantasias and Fugues II / Early Versions and Variants to I (Volume 5) and II (Volume 6) Editor Kilian, Dietrich / Wollny, Peter Johann Sebastian Bach: Complete Organ Works in revised editions Any complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike. Now all of Bärenreiter?s new performing editions of Bach?s organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to ?Bach digital?. The present volume is an updated edition of Series IV, Volume 6 of the ?New Bach Edition? (NBA), prepared by Dietrich Kilian in 1964. The discovery of new sources and a reassessment of existing handwritten copies have brought about changes to the contents of the volume, which now includes the ?Fantasia in C minor? (BWV 1121), the ?Fantasia in G major? (BWV 571), the ?Fugue in G major? (BWV 577) and the C major version of the ?Toccata and Fugue in E major? (BWV 566). On the other hand, the ?Prelude in G major? (BWV 568) as well as the alternative versions of the ?Fugue in C minor? (BWV 574a) and the ?Prelude in A major? (BWV 536a) have been discarded as presumably spurious. Besides the new compilation and corrections of the musical text, the volume also contains a detailed Foreword by Peter Wollny with observations on each work and the extant sources. Page turns have been re-examined and improved. In collaboration with the Bach Archive Leipzig and its ?Bach? digital database, links are provided to all the major sources. The website http://links.baerenreiter.com enables readers to access the relevant page in the source simply and conveniently via short URLs. The links stored there are examined for their validity on a regular basis. Contents: BWV 551, 563-566 (version in E major), 569-571, 573-575, 577-579 and 1121 / Early versions and variants to I (Vol. 5) and II (Vol. 6): BWV 532a, 533a, 535a, 543a, 545a, 549a, 566 (version in C major) and 574b ? New detailed Foreword (Ger/Eng) by Peter Wollny on the works and their sources ? New contents reflecting the current state of source evaluations ? Links to sources in ?Bach digital? ? Complete new engraving and revised page-turns · Composer / Author: Bach, Johann Sebastian Toccata in C BWV 564 · Composer / Author: Bach, Johann Sebastian Fantasia in C BWV 570 · Composer / Author: Bach, Johann Sebastian Fantasia in c BWV 1121 früher BWV Anh. 205 · Composer / Author: Bach, Johann Sebastian Fantasia in C BWV 573 Fragment · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 574 über ein Thema von Giovanni Maria Bononcini · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 575 · Composer / Author: Bach, Johann Sebastian Toccata con Fuga in d BWV 565 · Composer / Author: Bach, Johann Sebastian Toccata in E BWV 566 · Early Versions and Variants to I (Volume 5) and II (Volume 6): · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in C BWV 545a · Composer / Author: Bach, Johann Sebastian Toccata Fassung in C zu BWV 566 · Composer / Author: Bach, Johann Sebastian Fuga in c BWV 574b über ein Thema von Giovanni Maria Bononcini · Composer / Author: Bach, Johann Sebastian Fuga in D BWV 532a · Composer / Author: Bach, Johann Sebastian Praeludium ô Fantasia in d BWV 549a · Composer / Author: Bach, Johann Sebastian Praeludium in e BWV 533a · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in g BWV 535a · Composer / Author: Bach, Johann Sebastian Praeludium in a BWV 543a · Composer / Author: Bach, Johann Sebastian Fantasia in G BWV 571 · Composer / Author: Bach, Johann Sebastian Fuga in G BWV 577 · Composer / Author: Bach, Johann Sebastian Fuga in g BWV 578 · Composer / Author: Bach, Johann Sebastian Praeludium in a BWV 569 · Composer / Author: Bach, Johann Sebastian Praeludium con Fuga in a BWV 551 · Composer / Author: Bach, Johann Sebastian Fantasia in h BWV 563 · Composer / Author: Bach, Johann Sebastian Fuga in h BWV 579 über ein Thema von Arcangelo Corelli

Preludes Toccatas Fantasias and Fugues II/Early Versions and Variants to I (Vol. 5) & II (Vol. 6)-Johann Sebastian Bach's Complete Organ Works in revised editions.Any complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike. Now all of Bärenreiter?s new performing editions of Bach?s Organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to ?Bach digital?.The present volume is an updated edition of Series IV Volume 6 of the ?New Bach Edition? (NBA) prepared by Dietrich Kilian in 1964. The discovery of new sources and a reassessmentof existing handwritten copies have brought about changes to the contents of the volume which now includes the ?Fantasia in C minor? (BWV 1121) the ?Fantasia in G major? (BWV 571) the ?Fugue in G major? (BWV 577) and the C major version of the ?Toccata and Fugue in E major? (BWV 566). On the other hand the ?Prelude in G major? (BWV 568) as well as the alternative versions of the ?Fugue in C minor? (BWV 574a) and the ?Prelude in A major? (BWV 536a) have been discarded as presumably spurious.Besides the new compilation and corrections of the musical text the volume also contains a detailed Foreword by Peter Wollny with observations on each work and the extant sources. Page turns have been re-examined and improved.In collaboration with the Bach Archive Leipzig and its ?Bach? digital database links are provided to all the major sources. The website http://links.baerenreiter.com enables readers to access the relevant page in the source simply and conveniently via short URLs. The links stored there are examined for their validity on a regular basis.Contents:BWV 551 563-566 (version in E major) 569-571 573-575 577-579 and 1121 / Early versions and variants to I (Vol. 5) and II (Vol. 6): BWV 532a 533a 535a 543a 545a 549a 566 (version in C major) and 574b.New detailed Foreword (Ger/Eng) by Peter Wollny on the works and their sources.New contents reflecting the current state of source evaluations.Links to sources in ?Bach digital?.Complete new engraving and revised page-turns.

Gerard Bunk (1888?1958) was one of the greatest organists of the first half of the 20th century who, besides Reger, was able to develop his own characteristic style. His organ compositions divide into free individual works, character pieces, chorale preludes and six large-scale concert works.

Volume IV contains organ works composed between 1912 and 1915, comparable in quality with works by Max Reger and Sigfrid Karg-Elert. Harmonically bold and full of individual style, they are one of the last milestones in the late Romantic style before the advent of the Organ Reform Movement.

This Urtext edition, prepared by the composer?s grandson, is the result of extensive, meticulous research into the sources and reflects the latest musicological findings. Each volume contains a detailed foreword, numerous facsimiles and illustrations and a critical commentary.

The complete edition will comprise a total of six volumes.
- First complete Urtext edition
- Each volume contains a detailed foreword and critical commentary (Ger/Eng)
- Numerous facsimiles and illustrations / [Complete Organ Works, Volume IV] / Classique / Partition / Dos Carré Colllé /

In Memory of Hubert Parry-At Sir Hubert Parry’s funeral in St. Paul’s Cathedral on October 16th 1918 a few of his friends made a small wreath of melodies which were woven together and played. The pieces in this book have been written and given by these friends and a few besides as a rather larger wreath in loving memory of him. The title of the book was suggested by the original heading on his own piece (which stands as the first of them) For The Little Organ Book.